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choosing the Right interface
usb, frewire
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analog and digital i/o
what makes a
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sample rate and
bit depth
explained
INSIDE:
VOLUME 2
all about
i nterfaces
audio
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www.m-audio.com
Production Staff
Editor-in-Chief
Adam Castillo
Senior Editor
Michael Parker
Editors
Vanessa Mering
Jeffrey Paul Burger
Special Contributor
Ray Tantzen
Advertising Contact
Mark Williams
626-610-2513
Production Supervisor
Mike Taylor
Illustrations
Jim MacQuarrie
Art Director
Joshua Merrill
Layout
John Roy
2009 Avid Technology, Inc. All rights reserved. Product
features, specifications, system requirements and availability
are subject to change without notice. Avid, M-Audio, Fast
Track, Digidesign, Mbox, ProFire, KeyStudio, MX Core,
Octane, Pro Tools|HD, Pro Tools LE and Pro Tools M-Powered
are trademarks or registered trademarks of Avid Technology,
Inc. in the U.S. and other countries. All other trademarks
contained herein are the property of their respective owners.
ALL ABOUT AUDIO INTERFACES
www.m-audio.com/overdub 3
So you wanna make music with your
computer? Theres never been a better time to
get startedtechnology has come a long way
since the dinosaur days of analog tape and
$30,000 recording machines. You can get up and
running for a lot less these daysand make
high-quality recordings that would have been
practically impossible 20 years ago.
Even if youve already made the plunge into
digital recording, reading this issue of Overdub
can help you better understand how your gear
works and identify ways you can improve your
studio. So we hope you enjoy reading this issue
and as always, invite you to contact us at
overdub@m-audio.com.
Understanding the Basics
To fully understand digital audio technology,
consider how the analog recording process
works: Microphones pick up sound waves, which
are converted to electrical energy and sent to
a tape recorder. The tape recorder then stores
these electrical signals on magnetic tape,
allowing the recorded sounds to be played back
and stored.
The digital recording process is similar,
except that instead of being stored on
magnetic tape, the electrical signals pass
through an analog-to-digital converter and are
stored as data on a hard disk drive. Todays
digital audio workstation software, such as
Pro Tools, can emulate many aspects of the
analog process, including multitrack recording,
tape compression, track editing, punch
recording, direct monitoring and more. The key
difference is that expensive analog gear can now
be replaced by an affordable digital studio
with an audio interface as its centerpiece.
Why do I Need an Audio Interface?
Most of todays computers feature a
built-in sound card for connecting speakers,
headphones and perhaps even a microphone
to your computer. Although sound cards
may be sufficient for listening to music, they
typically lack the high-quality components and
flexible connection options that you need for
professional-level recording. If youre serious
about music production, youre going to need a
dedicated audio interface. An audio interface
serves several purposes: First, it allows you
to connect microphones, instruments and
line-level gear. Second, it converts the incoming
analog audio signals to digital audio data and
sends the information to your host computer.
And finally, on playback it converts digital audio
from your computer back to analog signals that
can be heard over speakers or headphones.
Choices, Choices, Choices
A quick web search or visit to your local music
store will reveal that there are many, many audio
interfaces from which to choose. Maybe youve
wondered:
How many inputs and outputs do I need?
Whats the difference between USB
and FireWire?
Why do some interfaces sound great
while others dont?
What makes a good preamp?
Whats the deal with different
sample rates?
How can I get into Pro Tools?
4 www.m-audio.com/overdub
This issue of Overdub will help you answer
these questions and find an audio interface
that matches your needs. As you spend time
reading about the different options available,
make a list of features that are important to
you. Your goal should be to find an interface
that matches your requirements and gives you
the functionality you need to produce music.
What Are You Planning To Record?
More than any other factor, this is going to
decide which interface is best for you. Vocalists,
solo musicians, DJs, hip-hop producers,
electronic performers and bands all have
different needs when it comes to recording. In
order to select an interface that will stand the
test of time, its wise to consider what projects
you are currently working onas well as what
studio endeavors you might explore in the future.
Analog Inputs
Choosing the right number of inputs and
outputs is perhaps the most important decision
you have to make when selecting an interface,
and it all depends on what you plan on recording.
If you record just two tracks at a timeor if you
produce music using strictly loops, samples
and soft synthsa basic two-channel interface
will be more than sufficient. The M-Audio
Fast Track Pro and Digidesign Mbox 2
both feature standard XLR microphone inputs
that allow you to record vocals and acoustic
instruments using dynamic microphones.
Recording drum kits usually necessitates at
least four inputs, and tracking a live band
requires a minimum of eight, each with individual
mic preamps. Large-scale project studio owners
will need an interface that offers flexible I/O
options for connecting with a variety of outboard
analog and digital equipment.
Line Inputs
The most common type of analog connections
are called line level, and are used to connect
keyboards, synth modules, signal processors, CD
players and other gear at a standardized signal
level. Line level signals require amplification in
order to have enough strength to be heard over
speakers. You can use 1/4 line-level connections
to hook up the outputs of an analog mixer to
your audio interface. This allows you to utilize
the mixers preamps and EQ before sending the
signals to your interface.
Instrument Inputs
Most guitars and
basses, on the other
hand, are basically
simple transducers
that dont even put out
enough juice to attain
line level. In order to
record guitar, bass or
other high impedance
(Hi-Z) signals, you either
need a direct box (DI) or
an audio interface with
one or more dedicated
Hi-Z instrument inputs.
An instrument input
functions like a mini
direct box, converting
the high-impedance
instrument signal to
a level that can be
handled by pro-level
recording gear (see
Appendix C). This will
enable you to record
guitar or bass without
Soloists, DJs, electronic artists and bands each have
different interface needs
www.m-audio.com/overdub 5
using an amplifierfor which your neighbors
will be grateful. Most M-Audio interfaces
including the entire Fast Track seriesprovide
at least one instrument input, eliminating
the need to purchase an extra DI box.
Microphone Preamps
Microphones also generate weak audio signals
that must be amplified in order to match the
level of recording gear. A preamp allows you
to adjust the amount of gain and boost the
microphone output signal to the desired level.
Some preamps are designed to offer clean,
transparent resultswhile others are meant
to color the audio and provide a distinctive
character to the sound. Either way, you
want preamps that deliver high gain without
introducing unwanted noise and hiss from their
internal circuitry. This will allow you to achieve
clean, natural sounding audio without having
to crank the preamp all the way up. Switchable
pads help you record exceptionally loud sources
by decreasing the signal by a given amount,
usually -20dB.
signal-to-noise ratio
When comparing preamps, signal-to-noise
ratio is one of the most important specs
to consider. It indicates how much noise is
introduced by the preamps internal circuitry.
The lower the ratio, the better. For example, a
signal-to-noise ratio of -100dB indicates that
the noise is -100dB quieter than the maximum
level of gain before distortion. The flagship
M-Audio ProFire 2626 interface delivers an
excellent signal-to-noise ratio of -109dB.
Truth in SpecsM-Audio vs. the Competition
Beware when comparing signal-to-noise
specs from different manufacturers! Some
companies fudge their specs by publishing the
noise introduced by the preamps and ignoring
the round trip signal path. This results in
a signal-to-noise ratio that is misleading.
M-Audio publishes only real-world specs so
you know how your interface will perform before
you make a purchase.
About Phantom Power
All condenser microphones (except electrets)
need DC power in order to operate properly.
While some high-end and vintage microphones
draw power from an external dedicated power
supply, most condenser mics are designed
to receive phantom power supplied by the
preamp or mixing desk. Phantom power provides
Its usually a good rule of thumb to get
a few extra inputs and outputs, since
you never know what projects you might
be working on in the future. Not enough
I/O is actually the number one reason
for having to upgrade audio interfaces!
Recording a band usually requires an eight-input interface
6 www.m-audio.com/overdub
between 12 and 48 volts of power along the same
XLR cable that carries the audio signal. If you
plan on recording with condenser microphones,
make sure to choose an interface that offers
phantom power.
Analog Outputs
Since an audio interface processes sound
outside of your computer, youll need at least one
pair of outputs to connect to active reference
monitors or to a power amp and speaker system.
Additional analog outputs are useful for routing
audio to external gear like headphone amps,
effects processors and mixing boards. For
example, you could send a pair of outputs to an
outboard reverb unit and feed the processed
signal back into the interface inputs. Or you
could assign each channel in your digital audio
workstation (DAW) to its own individual output
and route all your tracks through an analog mixer.
Using Studio Monitors
Although it is possible to monitor through
a home stereo or desktop speakers, using
dedicated studio monitors will yield much better
performance from your setup. If your interface
has multiple outputs, you can hook up several
pairs of monitors and compare your mixes
between them.
Headphone Outputs
Dedicated headphone outputs can come
in very handy, especially in situations where
youre unable to use studio reference monitors.
All FireWire and USB interfaces from M-Audio
and Digidesign include at least one headphone
output with a dedicated volume control. Multiple
headphone outputs are useful if you record with
other musicians, and can save you the expense
of purchasing a separate headphone amplifier.
As mentioned later, software control panels
can provide I/O control for creating different
dedicated headphone mixes for each headphone
outputsuch as a main mix plus a click track for
a drummer.
Surround Sound Mixing
Nowadays, most music for video games,
TV and film is mixed in surround sound. If you
plan on doing multimedia work, get an interface
with enough simultaneous outputs to drive
a full surround sound system. The M-Audio
ProFire 2626 and ProFire 610 each have eight
analog outputsallowing you to hook up
seven monitors and a subwoofer and mix
in 7.1 surround sound. Both interfaces also
feature an assignable master volume knob that
lets you control the volume of all speakers
simultaneously.
About Insert Cables
An insert cable is wired in a way that lets you
send and receive signals over a single cable.
Insert cables feature a TRS (tip/ring/sleeve)
connector on one side and two TS (tip/sleeve)
connectors on the other. The TRS side connects
to an insert jack on the audio interface. The
send TS connector goes to your external
Although dynamic mics will operate
with or without phantom power, ribbon
microphones can be damaged when
exposed to phantom power.
For more info on
choosing and setting up
studio monitors, check
out Overdub Volume One
online.
Use an interface with two headphone
outputs to record multiple musicians
www.m-audio.com/overdub 7
devices input and the return TS connector
goes to your external devices output. This
allows signals to be sent and returned using a
single cable.
Integrated Control Surfaces
Some audio interfaces also offer a built-in
control surface for hands-on operation and
mouse-free mixing. The M-Audio ProjectMix I/O
and Digidesign 003 Factory each offer a
full-featured control surface with touch-sensitive
motorized faders, rotary encoder knobs and
dedicated switchesas well as bank-switching
controls to allow the hardware channel controls
to address all the virtual channels of your
software. If you love working with a traditional
mixer or recording console but want the power
and flexibility of a digital audio interface, a built-in
control surface combines the best of both worlds.
Digital I/O Options
If you own outboard gear that supports
digital I/O (or if you plan on expanding
your setup), its good to have an interface
that offers digital inputs and outputs.
Transferring audio in the digital domain has
several advantages. You avoid unnecessary
conversions that can degrade the quality of
your signal. You can send as many as eight
digital audio signals over a single ADAT cable.
And since digital audio is simply a series of
zeros and ones, you never have to worry about
setting levels or clipping the signal. There are
several digital audio formats currently in
widespread use, the most common are S/PDIF
(Sony/Phillips Digital InterFace) and ADAT
(Alesis Digital Audio Tape).
S/PDIF
The S/PDIF format is capable of sending a
stereo audio signal over a single RCA-type or
ADAT TOSLINK cable. Many effects processors,
A/D-D/A converters, microphone preamps, CD
players, keyboards and samplers support S/PDIF.
ADAT
The ADAT optical standard supports
multitrack digital I/O over a fiber optic cable.
A single ADAT port is capable of transferring
either eight channels of 44.1/48kHz audio, four
channels of 88.2/96kHz audio, or two channels of
high-definition 192kHz audio. Many digital audio
converters, digital mixers and multichannel
preamps are ADAT-compatible.
MIDI I/O
MIDI, or Musical Instrument Digital Interface,
is a communication protocol that enables
electronic musical instruments, computers
and other digital equipment to communicate
and share data. Nearly all modern keyboards,
synthesizers and DAW applications support
MIDI. If you want to integrate synths, effects
processors and other MIDI gear into your setup,
look for an audio interface that offers at least
one MIDI input and one MIDI output.
Its a Keyboard And an Audio Interface!
When youre putting together a mobile rig or
just tight on space, you might appreciate the
efficiency of a MIDI keyboard controller with
an audio interface built right in. Check out the
M-Audio KeyStudio 49i, ProKeys Sono 61 and
ProKeys Sono 88. They even have built-in sounds
including a stereo-sampled grand piano.
Word Clock
Your computer-based DAW stores and
manipulates music as digital samples (more
on sampling later). Each device in your
interconnected digital world must share the
same timing in order to communicate correctly
that is, their clocks must be synchronized.
Get hands-on with an integrated
control surface
8 www.m-audio.com/overdub
Word clock makes this possible by designating
one device as the timing master, and all
other connected devices as slaves, locking
the slaves to the master. This ensures that all
digital gear is running at a common sample rate.
Without word clock, your digital audio signal
will be lled with clicks and pops (if, in fact,
it plays at all). Many M-Audio and Digidesign
interfaces can send and receive word clock data
via S/PDIF, ADAT or coaxial BNC cableallowing
you to synchronize with A/D converters,
outboard preamps or other digital gear.
Connectivity OptionsPCI, USB and FireWire
Once you have decided roughly how much
analog and digital I/O you need, you should
consider which connectivity option to useUSB,
FireWire or PCI. Each format presents unique
advantages and disadvantages. It all depends
on what works best for your system.
USB 1.1
The vast majority of computers today come
with USB ports, making USB audio interfaces an
attractive option for musicians and producers.
USB 2.0
USB 1.1 is a good choice for working with
two channels at once and creating CD-quality
tracks. But when you want to record at higher
sample rates and/or capture multiple channels
at once, you need the increased data transfer
speed offered by USB 2.0. USB 2.0 devices
have become more common in recent years, and
provide a stable, reliable solution for working with
high-fidelity audio. To use a high-speed USB 2.0
recording device, all you need is a computer that
supports USB 2.0.
FireWire
Like USB 2.0, FireWire offers the bandwidth
necessary to record multiple tracks at high
sample rates. But unlike USB 2.0, which
transmits data in packets, FireWire provides
a continuous flow of dataallowing FireWire
interfaces to process audio more efficiently.
FireWire can be an especially attractive choice
for Mac users, since many Apple computers
come standard with the necessary port. Many
PC manufacturers also include FireWire ports
on their latest machines. If your PC doesnt
support FireWire, you can always purchase and
install a third-party card.
FireWire comes in two flavorsFireWire
400 and FireWire 800. FireWire 400 is the
industry-standard for audio interface
technology, while FireWire 800 offers increased
data transfer rates and is typically used for
external hard drive enclosures. If your computer
only has a FireWire 800 port, dont worryall
M-Audio FireWire interfaces are fully compatible
with both 400 and 800 ports. All you need is the
proper cable and youre good to go.
USB vs. FireWire
Connection
USB
2.0
12Mbps
480Mbps
400Mbps
USB
1.1
FireWire
400
MIDI
RCA
TRS
TS
BNC
XLR
S/PDIF-RCA
USB
FireWire
ADAT
www.m-audio.com/overdub 9
PCI
The third most common type of audio interface
consists of a PCI hardware card placed directly
into a slot on the motherboard. Some units
feature audio connections on the card itself,
while others offer a separate breakout box with
analog and digital I/O. These interfaces provide
tight integration with the host computer, which
results in low latency and excellent MIDI timing.
However, PCI-based interfaces must be installed
inside a computer tower, so theyre inherently
less mobile.
Form Factor
Are you turning a spare room into a project
studio, or are you looking to make music on the
road? Audio interfaces come in all different
shapes and sizes, some designed for permanent
rack-mount installations, and some designed for
mobile music production. If you want something
portableor if desk space is an issuecheck
out a small, bus-powered interface like the
M-Audio ProFire 610 or Digidesign Mbox 2.
Other audio interfaces, such as the M-Audio
ProFire 2626 or Digidesign 003 Rack+ Factory,
are primarily designed for in-studio applications.
The rack-mount form factor is great for hooking
up tons of extra gear and hiding the cable mess
behind the desk. If you have the room and want
expanded I/O capabilities, a larger interface
like the M-Audio ProjectMix I/O offers FireWire
connectivity, expanded I/O choices and a built-in
control surface.
Other Factors to Consider
Audio Quality
Visit any online audio forum and youll no
doubt find a heated discussion about which
audio interface sounds the best. Everyone
seems to have a different opinion on the
subject, so its hard to separate fact from the
fiction. One thing is for surewhen it comes to
overall audio quality, internal components play
a big role. But its also important to select the
right sample rate and bit depth for your project
in order to capture the entire dynamic range of
the performance.
Sample Rate Explained
A thorough discussion of digital audio
sampling would probably encompass several
volumes of text. However, it is possible to
understand the basics with a brief overview
Digital audio interfaces sample analog audio
signals and convert them to digital data. These
individual samples are like quick snapshots
of sound. A sample rate of 44.1kHz means that
the audio interface takes 44,100 snapshots per
second. A higher sample rate of 96kHz means
that 96,000 samples per second are captured.
Higher sample rates sound better because
more information is captured. When the
interface converts the digital data back to
analog audio, the empty space between the
samples is smoothed over (see figure).
When recording at higher sample rates, there
is less empty space between samples, which
results in more accurate smoothing and
better-sounding audio.
44kHz 44kHz 96kHz
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4
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2
4
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1
6
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B
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As bit depth and sample rate increase, more information is captured
resulting in higher-quality audio
10 www.m-audio.com/overdub
Higher sample rates also capture a wider
range of frequencies. While its true that
the human ear cant hear past 20kHz, there
are harmonics and overtones that reach
much higher into the frequency range. These
harmonics, when captured by an interface
running at 96kHz or higher, can impact the
frequencies that we do hear.
Bit Depth Exposed
While the sample rate determines how
often the interface captures audio, the bit
depth determines how much information is
captured by each sample. Its kind of like a
digital photographan eight-megapixel photo
captures more detail and has higher resolution
than a three-megapixel shot. Likewise, 24-bit
recordings capture better detail than 16-bit
recordings (while 8-bit audio sampling should
best be left to old-school Nintendo games!).
Higher bit depths also allow you to capture a
greater dynamic range and record hotter signals.
Selecting the Right Audio Quality
Many wonder why its worth recording at
high sample rates and bit depthsespecially
since those formats consume extra system
resources and hard drive space. The answer
depends on whats being recorded, as well as
what the final output medium will be. If the
final destination is CD, the audio will have to be
downsampled to 16-bit/44.1kHzat which point
the extra information captured at 24-bit/96kHz
will be lost. However, as mentioned earlier,
those upper-range frequencies do impact what
we hear in the lower bands. Recording at high
sample rates can be especially beneficial when
recording acoustic instruments, cymbals and
other sources with high-frequency air-like
qualities. Any EQ, effects and other processing
will be done at a higher level of audio quality,
resulting in better-sounding audio even when
downsampled to CD format.
If the final output will be on DVD, its definitely a
good idea to record at higher rates. DVDs, video
games and other multimedia formats typically
use far higher sample rates than standard CDs.
The M-Audio ProFire 2626 and ProFire 610 audio
interfaces allow you to record at rates up to
24-bit/192kHz.
Internal ComponentsDACs Make a Big Difference
So why do some interfaces sound great while
others donteven when recording at equal
sample rates and bit depths? The answer
lies in the quality of internal components.
Every interface contains internal digital audio
converters (DACs) that convert incoming analog
signals to digital data that can be read and
stored. The performance of these components
makes a huge impact on the quality of your
recordings. When it comes to DACs, there are
two key factors to consider: signal-to-noise
ratio and internal clock stability.
A low signal-to-noise ratio (S/N specs are
expressed in negative values) means that the
interface delivers a wide dynamic range without
introducing much noise. Remember, unwanted
noise can degrade the quality of your audio and
ruin an otherwise good recording!
The other factor that can impact digital audio
conversion is clocking. Audio interfaces must
sample at regular intervals in order to capture
sound accurately. A poorly designed clock can
cause the interface to sample audio irregularly,
resulting in jitter. Youll find that all M-Audio
interfaces have very stable clocks. Some
M-Audio interfaces, like the ProFire 2626, even
feature JetPLL jitter-elimination technology
ensuring that the digital audio converters
stay rigidly locked on time and sample
audio accurately. So just because two audio
interfaces are recording at the same sample
rate and bit depth (lets say, 24-bit/48kHz)
A dIgital audio converter (DAC) converts analog audio to digital data
www.m-audio.com/overdub 11
doesnt mean the results will sound the same.
The quality of the internal componentsand
in particular, the DACsmakes a really big
difference in performance.
Software Drivers
Some audio interfaces are class-compliant,
meaning they are plug-and-play ready right
out of the box. Most interfaces however,
require specific software drivers in order to
operate efficiently with your computer and DAW
software. Drivers are very important because
they tell the computer how to communicate
with your hardware. M-Audio has been making
audio interfaces for years, so the drivers you
get are stable and matureensuring rock-solid
performance with your computer. Most M-Audio
drivers are also accompanied by software
control panels for controlling internal I/O routing
for purposes such as creating headphone mixes
and external effects loops.
Onboard DSP
Your computer provides most of the power
needed to record, mix and edit digital audio.
However, in order to conserve CPU resources,
some interfaces feature onboard DSP (digital
signal processing), which allows you to create
latency-free cue mixes and perform audio
processing tasks on the interface itself.
M-Audios MX Core DSP technologyfound
on the Fast Track Ultra and Fast Track Ultra 8R
modelseven offers reverb and delay effects
processing during tracking. Since the functionality
takes place inside the interface, you dont need a
super-powerful computer to monitor with effects.
But even the most powerful systems will crawl
to a halt when juggling tons of I/O, real-time
monitoring and heavy plug-in processing. Thats
why Digidesigns powerful Pro Tools|HD systems
are the industry standard for professional audio
recording, post-production and mastering.
Pro Tools|HD hardware utilizes advanced DSP
chips that can process massive amounts of
digital audio without taxing the host CPU. A typical
Pro Tools|HD system consists of one or more
dedicated PCI cards loaded with DSP, a Digidesign
audio interface and Pro Tools HD software. No
other digital audio workstation (DAW) is used more
in top music studios, broadcast facilities, editing
suites and mobile production trucks worldwide.
Solving The Latency Problem
All digital audio systems introduce a certain
amount of delay between input and output,
otherwise known as latency. Latency can
present a challenge, especially when recording
vocalsthe singer hears his own voice live, as
well as the delayed, processed signal coming
back from the DAW. The resulting delay makes
it difficult to maintain proper pitch and timing.
Hardware direct monitoring solves this problem
by letting you monitor directly through the
interface, before any latency is introduced by
the host CPU. You just open the audio interface
software control panel and select which live
inputs and software returns you want to hear
while recording. By monitoring your live inputs
before they pass through the computer, youll
enjoy a more natural recording experience
just like when using a standard analog mixer.
Youll find direct hardware monitoring on most
M-Audio interfaces.
Direct hardware monitoring allows you to hear yourself without the delay (latency)
introduced by digital recording
12 www.m-audio.com/overdub
Final Thoughts
Choosing the right interface can be a daunting
task, especially if youre just getting started
in the world of recording. As you spend time
exploring the choices available to you, remember
to select an interface that offers the following:
The right amount of inputs and outputs
High-quality preamps and digital converters
Driver compatibility with your
computer system
The right computer connectivity format
Once youve found the ideal audio interface,
youll be well on your way to making great
recordings and ready to explore the creative
world of music production.
Notes:
www.m-audio.com/overdub 13
Appendix AGetting Into Pro Tools
Digidesigns industry-standard Pro Tools
software comes in three versionsPro Tools|HD,
Pro Tools LE and Pro Tools M-Powered. A
standardized user interface means that once
you know how to run one version of Pro Tools, you
know how to run them allthe primary distinction
is that each version of Pro Tools works with
different hardware. Pro Tools|HD systems take
advantage of Digidesigns powerful DSP-based
hardware. Pro Tools LE works with Digidesigns
LE system hardware, including the Mbox and 003
series audio interfaces. Pro Tools M-Powered
works with approximately two-dozen different
M-Audio interfaces.
All versions of Pro Tools share the same
file format, making it possible to interchange
projects between any of these systemsand
on both Macs and PCs. Lets say that you
have Pro Tools M-Powered 8 and a compatible
M-Audio interface such as ProFire 610. You
can collaborate and exchange files with other
musicians who are using Pro Tools LE and
Digidesign hardware. You can also take the
files you track at home to a professional studio
that uses a Pro Tools|HD or Pro Tools TDM
(the predecessor to Pro Tools|HD) system for
the full benefit of additional studio tracking,
processing and mixing at the hands of a
seasoned engineer and/or producer.
Conversely, you can travel or work at home
with tracks created in a Pro Tools|HD studioall
you need is a compact M-Audio mobile interface.
This might include tracking a live act, capturing
inspiration wherever life takes you, or sitting
on the living room couch with your family while
cutting sound effect cues on your laptop. You
can also take the studio tracks you create on
any version of Pro Tools right to the stage as
backing tracks.
Appendix BBalanced vs. Unbalanced Cables
Audio interfaces and other studio gear
typically include a combination of both balanced
and unbalanced connections. An unbalanced
connection uses two conductorshot and
ground. The hot wire carries the audio, while
the grounded return conductor acts as a
voltage reference. Standard 1/4-inch TS (tip/
sleeve) instrument cables and RCA cables are
examples of unbalanced wiring.
Balanced connections on the other hand, use
three conductors to transmit the signal. The
ground wire acts as a voltage reference, while
two independent wires carry identical signals
180 degrees out-of-phasethereby balancing
the signal across two wires. If noise is somehow
introduced into the signal, it gets canceled out
by the time it reaches the destination. Examples
of balanced three-conductor wiring include XLR
microphone cables and 1/4-inch TRS (tip/ring/
sleeve) cables.
All other things being equal, balanced and
unbalanced connections generally sound the
same. However, using balanced cables and
connections can help to reduce noiseespecially
when using cable runs longer than 20 feet. If you
are using short patch cable runs, unbalanced
wiring is probably sufficient. Remember that
when using microphones, its always best to use
balanced cables.
Appendix CProfessional (+4dBu) vs.
Consumer (-10dBV) Level
You may have noticed that the output level of
some instruments, processors and recording
gear is stated in terms of professional-level
(+4dBu) or consumer-level (-10dBV). While a
discussion of the physics behind these readings
is well beyond the scope of this issue, it is
important to note the difference between the
two specs.
Professional audio equipment uses balanced
connections capable of transmitting signals at
high levels without introducing noise. Therefore,
pro audio gear is designed to produce a
maximum output level rated at +4dBu.
Most consumer-level electronics produce
a lower-level line output, expressed as the
reading -10dBV. This goes back to the days
when consumer gear utilized unbalanced RCA
connections. In order to prevent noise from
entering the signal, the output levels were
capped at the relatively low level of -10dBV.
Using a balanced cable on an
unbalanced connection jack will not
make the signal balanced.
14 www.m-audio.com/overdub www.m-audio.com/overdub 15
Appendix D M-AUDIO & DIGIDESIGN
INTERFACE COMPARISON CHART
Simultaneous
I/O
Analog
Inputs
Analog
Outputs
Phantom
Power
(48V)
Resolution ADAT
Optical
S/PDIF Digital MIDI
I/O
Word
Clock
I/O
Headphone
Output
Connection
Type
Bus-
Powered
Integrated
Control
Surface
Mic
Preamps
ProFire 2626** 26 x 26
8
(combo XLR/
1/4 TRS)
8
(1/4 TRS)
yes
24-bit/
192kHz^
16-in/
16-out
1-in/1-out, RCA
(optical input/
output port B
capable of S/PDIF)
1 x 1 yes 2 (1/4) FireWire 8
ProFire 610*** 6 x 10
4
(2 combo XLR/
1/4 TRS,
2 1/4 TRS)
8
(1/4 TRS)
yes
24-bit/
192kHz^

yes
(RCA I/O)
1 x 1 2 (1/4) FireWire yes 2
ProjectMix I/O 16 x 12
8
(8 XLR,
8 1/4 TRS/TS,
1 1/4 TS inst.)
4
(1/4 TRS)
yes
24-bit/
96kHz
8-in/
8-out
yes
(optical I/O,
RCA I/O)
2 x 2
(1 x 1 DIN5)
yes 2 (1/4) FireWire yes 8
Fast Track Ultra 8R** 8 x 8
8
(combo XLR/
1/4 TRS)
8
(1/4 TRS)
yes
24-bit/
96kHz

yes
(RCA I/O
via adapter)
1 x 1
via adapter
2 (1/4) USB 2.0 8
Fast Track Ultra** 8 x 8
6
(2 mic/line/inst.,
2 mic/line,
2 line)
6
(1/4 TRS)
yes
24-bit/
96kHz

yes
(RCA I/O)
1 x 1 2 (1/4) USB 2.0 yes 4
Fast Track Pro 4 x 4
2
(2 combo XLR/
1/4 TRS/TS)
4
(2 1/4 TRS,
4 RCA)
yes
24-bit/
96kHz

yes
(RCA I/O)
1 x 1 2 (1/4) USB yes 2
Fast Track 2 x 2
2
(1 XLR,
1 1/4 TS inst.)
2
(RCA)
Yes
24-bit/
48kHz
1 (1/4) USB yes 1
Delta 1010 10 x 10
8
(1/4 TRS/TS)
8
(1/4 TRS/TS)

24-bit/
96kHz

yes
(RCA I/O)
1 x 1 yes PCI
Audiophile 2496 4 x 4
2
(RCA)
2
(RCA)

24-bit/
96kHz

yes
(RCA I/O)
1 x 1 PCI
003 Factory 18 x 18
8
(4 XLR,
8 1/4 TRS)
8
(1/4 TRS)
yes
24-bit/
96kHz
8-in/
8-out
yes
(RCA I/O)
1 x 2 yes 2 (1/4) FireWire yes 4
003 Rack+ Factory 18 x 18
8
(8 XLR,
8 1/4 TRS)
8
(1/4 TRS)
yes
24-bit/
96kHz
8-in/
8-out
yes
(RCA I/O)
1 x 1 yes 2 (1/4) FireWire 8
Mbox 2 Pro 6 x 8
4
(2 combo XLR/
1/4 TRS,
2 1/4 TRS)
6
(1/4 TRS)
yes
24-bit/
96kHz

yes
(RCA I/O)
1 x 1 yes 2 (1/4) FireWire yes 2
Mbox 2 Mini 2 x 2
2
(1 XLR,
2 1/4 TS)
2
(1/4 TS)
yes
24-bit/
48kHz
1 (1/4) USB yes 1
Mbox 2 Micro 0 x 2 n/a
1
(1/8 stereo)
1 (1/8) USB yes
* Visit digidesign.com/ptmpgrid for the complete list of hardware compatible with Pro Tools M-Powered.
** Compatible with Pro Tools M-Powered 7.4 with downloadable update from m-audio.com, and higher.
*** Compatible with Pro Tools M-Powered 8 and higher.
^ Pro Tools M-Powered supports a maximum of 18 x 18 I/O at 44.1 or 48kHz, and a max of 14 x 14 I/O
at 88.2 or 96kHz. Pro Tools M-Powered does not support sample rates above 96kHz.
Digidesign Interfaces Compatible with Pro Tools LE
M-Audio Interfaces
Compatible with Pro Tools M-Powered*,
Abelton Live, Logic, Cubase, SONAR & more